Director Werner Nekes has created this experimental film in the mode of James Joyce's Ulysses to the extent that human interactions are represented by poetic, symbolic images and language, with a certain amount of nudity added in.

Picture montage was a central aspect in the early history of visual media. As early as the 16th century, techniques such as the folding picture montage anticipated those used in film today. Other examples of early forms of montage are transparencies, picture puzzles and blow books, which direct the gaze towards hidden information. In the myriorame, the multi-thousand picture-show, it is possible to assemble infinite landscapes.

Other essential predecessors of film were those devices that created the illusion of motion by taking advantage of the persistence of vision and the stroboscopic effect, such as the thaumatrope, phenakistoscope or wheel of life, zoetrope or magic drum and praxinoscope and later on, the more sophisticated flip-books such as the kinora and mutoscope.

The film traces the history of the camera obscura, the understanding of perspective and anamorphosis, peepshows and it shows the beauty of historical shadowtheaters and shadow toys.

Two men travel around.

An experimental film where a particular space is constantly "present" : there is a complex usage of superim- position, and of split-screen effects. The place shown is a part of a house in the country. Doors and windows are continually shown, emphasizing the film's concern with framing. Other images are present: city-scapes of a particularly sinister nature, implying a sense of ruin, and shots of a chorus on a stage. These shots begin and end the film which is accompanied by a vocal chant on the soundtrack.

The German artist Joseph Beuys is reflecting on his theory of art, being filmed as a kinetic sculpture. In 1981, the film has won the German film critic's award for “Best short film in Germany”.

Diwan, a lyric anthology, an outdoor movie with people. With people living in the surrounding precious and very beautifully photographed nature, are neither more nor less than one part of it. What Nekes manages there with landscape, as a cunning and quote many fine artist in a medium that runs in time, as he defeated the time changed, by themselves for change of scenery uses, as it interferes with the laws of chronology through the rewind ability of the camera or destroyed, which is a compelling and highly aesthetic experimental company.

An experimental film about the interpenetration of various levels of communication, dealing with the relationship of the pictorial functions to those of sound (direct sound).

The film looks at ways of creating spezial illusions through amiguous images, perspective theatres, folding peepshows and from the 19th century, the stereoscope, which look forward to today’s holography.

An exhilarating and amusing encyclopedic look at the "prehistory" of cinema. Werner Nekes charts the fascination with moving pictures which led to the birth of film, covering shadow plays, peep shows, flip books, flicks, magic lanterns, lithopanes, panoramic, scrolls, colorful forms of early animation, and numerous other historical artiffices. Working with these formats, early "producers" created melodramas, comedies, -- as well as lots of pornography -- anticipating most of the forms known today. Nekes probes these colorful toys and inventions in a rich and rewarding optical experience. Film Before Film is a bewildering assault of exotic (and sometimes erotic) images and illusions.

The history of the magic lantern with demonstrations of moving slides, watertank or polarisation slides, followed by images on paper, which are brought to life with mechanical manipulations, with light shining through them or as panorama.

The painter gazes at his female model, or how voyeurism is transformed into culture. An erotic adventure film where the theme is the viewer himself.